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A Structural Analysis of George Enescu's Piano

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A STRUCTURAL ANALYSIS OF GEORGE ENESCU’S PIANO SONATA IN D MAJOR, OP. 24, NO. 3 By JONAS ERIK KVARNSTROM B.Mus., The University of Victoria, 1983 M.Mus., The University of Victoria, 1986 A THESIS SUBMITTED IN PARTIAL FULFLLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCI’OR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standarSi THE UNIVERSITY OF BRITISH COLUMBIA May 1992 © Jonas Erik Kvarnström, 1992 c4 CnD ctOcnU I ZiQD HctF—rn jQr O jL\jt: 0 (DODi OD’ODiH 0U)CD (DZDiDi - HZCD U1i ZZZ HZ ti• ctCD Q- Z CD’ CD 00 CD’ ctCfl(fl ct0ZIU) II Di HOQU) DiwH C) U) HH CD OctH OHOrt CD t—0DiO Cl) SCDI— CD HQ.U)H,CDOH• QOCflH 0 l- CD - ZQ.iDiO PJZ OCi) cnPi’ 1.CI)U) tJ02 < ZHDi (DO CIH .QZ- HeCDH II 0 Di Di fl Dl Ct-ct Os -(ri-i- CtHHU)0 ct0ZQ Hfl H U) ct tfl0Hf-- DiO CDH-i-U)O CflCDDi - Dl CJ Z Pi(D HO< CD ZDiHct- U)Di C!) 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H HHZ flH - 0’PJ O ><H HCZO 5U)..O 0ZH OHi-JH ‘Z CZ ‘H DiCQj H HCDHS< HHU) H 0 HDi HO •WH(D(J) < Di (DCDsO 0 -Cl) U’ WO. (I) r’JDi>< Cn -U) CD O 0 5 CD CnO HCDCJ) (Ds >OO H ZZM U) - —iCi)5CD U) MO H Oct CDs SH • CD .< HDi D Di-(DH H 0I- O•Dii H HDi OC —J<HD) Di’ H ci- H - ZH O’ODIH H 0 0 H OWH H Z (Ds HCD SD) Cl) ZHDiS HO 0 CD C1CD —Cl)H HZ 0 DiCI - f-ctZ H • Oct OH i OH ZO H Di HP) ctOCD flU) H (DsO c-tO - CD CD DiH Di H • ci- 0: 5 <H,Q O OHCDO Z Gc S O HhhOO H 0 ZOO —3 Cl)Di HH Z • CD ZHC!)H HHiOCl) H (J Q OHOZ —1-.i H0Q .0 H H QUJ. H Di HHZDi OOZO 5 DiH- ‘..D DIDiH OCDCD ‘.050(l) W U) ci- CD • I c-i I’JDiI —l 0 - •— - • CD CD CD “alabert I I I I- I IJ Paris, le 27 Fvrier 1991 Monsieur JONAS KVARNSTROM 401, 1414 WEST 73RD AVENUE VANCOUVER, B.C - N/Ref. : NQ/AB V6P 3E8 Monsieur, Nous accusons reception de votre Iettre du 15/2/1991.. Nous vous accordons l’autorisation non exclusive gra— cieuse dans les limites évoquées dans ledit courrier. Quant aux Op..24 n°1 et n°2 les EDITIONS SALABERT n’en sont pas l’éditeur. L’Op.24 n°1 est édité par les EDITIONS ENOCH. L’Op.24 n°2 est inédit. Nous vous prions de croire, Monsieur, en l’expression de nos sentiments distingués. NELLY QUER Chef du Service Juridique 22. RUE CHAUCHAT ADRESS TELEGRAPHFQUE SALABERT AS-09 F 7flflg PbJt’ cc J 6 N E i Jonas Kvarnstr/im Kiuwer Academic 101-Philip Assinippi Pk. Norwell, Massachusetts 02061 Vancouver, April 26, 1991 Dear Sir/Madam: In partial fulfillment of the Doctor of Musical Arts Degree at the University of British Columbia 1 am writing a dissertation on George Enescu’s Piano Sonata in D Major, Op. 24, No.3. Excers of “Rumanian Folk Music by Bela Bartok, Vol.1 - Instru iEal’e1odies”, Ed._Be12.jmin Suchoff (1967), will be used as examples in my anaisof cu’s work. It is my understanding that you represent the Publisher of “Ru manian Folk Music...”, Martinus Nijhoff, in the North American market. I would like to ask for your permission to print these music examples in my document, which will only be deposited in U.B.C.’s Main Library for academic, non—commercial use. As the success of my dissertation depends strongly on the use of Folk Music examples, I would greatly appreciate your reply at your earliest convenience. Thank you very much for your time. Sincerely, ,7Jonas Kvarnstrom 401 - 1414 West 73rd Avenue • Vancouver, B.C. V6P 3E8 (604) 261-6300 II’1vvI academic publishers Spuiboulevard 50 P.O. Box 17 3300 AA Dordrecht The Netherlands Mr. J. Kvarnstrom 401-1414 West 73rd Ave. Telex: 29245 Telefax: (0)78-334254 VANCOUVER, B.C. V6P 3E8 Telephone (central): (0)78-334911 CANADA Bankers: ABN Bank, Dordrecht Account Number 51.34.52.206 Postal Cheque Account Number 4447384 Chamber of Commerce Dordrecht Commercial Register Number 51097 Telephone (direct): (0)78- 334 210 Date 23 May 1991 Dear Mr. Kvarnstrom, With reference to your request (copy herewith) to reproduce material on which Kluwer Academic Publishers control the copyright, I confirm that you have our permission, free of charge, for the use indicated in your enquiry. In all cases, including those where the original copyright notice cites the name of another, we request that you add this statement: Reprinted by permission of Kiuwer Academic Publishers. With kind regarii&-. (Mrs.) Odt Kiers’Pols Rights and Permissions End. Kiuwer academic publishers B.V. incorporating: ft Reidl Pijhlishinn flnmrnv Mrtn flr W Ink ,rrD D... In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of LJSL(. The University of British Columbia Vancouver, Canada Date )1vth 3; )qt DE-6 (2/88) 11 Abstract George Enescu (188 1-1955) is known primarily today in conjunction with the world of violin playing. Celebrated as a violin virtuoso throughout the capitals of Europe and North America in the first half of this century, and later admired as a teacher of luminary talents such as Yehudi Menuhin, Arthur Grumiaux, and Ida Haendel, Enescu exerted a considerable influence on the developments of the international music scene. This was nowhere more apparent than in Paris and Bucharest, cities in which Enescu spent most of his life active as performer, conductor, and composer. As his career progressed, Enescu dedicated an increasing amount of time and energy to composition, producing an impressive list of works, many of which were of monumental proportions. Contemporary with Bartok and Kodály, Enescu found himself caught in the current of nationalism that asserted itself in Europe during the first decades of the twentieth century. Seeking a personal, expressive idiom in which he could fuse the musical elements of both Western tradition and his native Rumanian folk heritage, Enescu experimented with diverse compositional trends and styles. Expanding the reaches of tonality with heightened chromaticism, in which microtonal as well as modal inflections were both to play significant roles, Enescu’s idiom evolved into a highly plastic language, comprising a great variety of stylistic characteristics. In order to assimilate the heterogeneous elements into one unified expression, Enescu relied on traditional compositional techniques such as sonata form, cyclic thematic structure, and motivic development. The focus of this paper is to examine to what extent these compositional techniques are incorporated into his work and to direct attention to those elements, i.e., both structural and non-structural, that were most distinctive of Enescu’s musical style. Owing to its concentration of key stylistic elements and its stature as perhaps the most accomplished piano composition in Enescu’s output, the Sonata for Piano in D Major, Op. 24, No. 3 (1934) will serve as model for this analytical study. Chapter One provides by way of an introduction a brief overview of the formative years in Enescu’s life and defines the position of the Sonata within the complete ceuvre. Chapters Two, Three, and Four constitute the main body of the paper and contain analyses of each of the Sonata’s three movements.
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  • Ellen Rose, Viola Kristin Ditlow, Piano “There Are No Foreign Lands

    Ellen Rose, Viola Kristin Ditlow, Piano “There Are No Foreign Lands

    AF1808 PROVIDENCE Ellen Rose, viola Kristin Ditlow, piano “There are no foreign lands. It is the traveler only who is foreign.” —Robert Louis Stevenson Any listener receiving the gift of the music on this disc might assume that the musical partnership between Ellen Rose and Kristin Ditlow began somewhere in the United States, but it was quite the contrary. It began in an airport shuttle in 2011 from the Budapest Ferenc Liszt International Airport to Sárospatak, Hungary. The destination of the shuttle was the Crescendo Nyári Akademia (Crescendo Summer Institute). A conversation that began between the newly- introduced musical colleagues yielded a promise to play together on a Tune-In (informal morning chapel) service. The piece was the fifth movement of Messiaen’s Quatour pour la fin du temps (Quartet for the End of Time), and the title, Louange à l’Éternité de Jésus (Praise to the Eternity of Jesus). While this work was originally for cello and piano, it was arranged for viola by Ellen Rose. The performance took place about a week later. One of our faculty colleagues, Mari Salli (a pianist, originally from Finland, faculty member in Hungary, and working in mainland China) extended an invitation to the duo to perform during the 2012-2013 season at the National Theater in Kunming, China in the Yunnan Province. This invitation proved to be the center around which a multi-city tour was formed. From rehearsals and long-distance conversations, concerts planned, to tickets purchased, we embarked across the Pacific for a three-week tour of Beijing, Shanghai, and Kunming.